Early in 1970 I was asked by the Tate Gallery to write the catalogue introduction for a projected González exhibition. I accepted, wrote the piece, and my essay was sent in manuscript as a matter of courtesy to the artist's representative in Paris, the Galerie de France. The reaction was angry and immediate: my text could not be altered or modified—it must be deleted from the catalogue or the sculpture would not be released for the London exhibition. I had no choice but to withdraw; it was important that a good selection of González’s work be seen for the first time in England, if belatedly to say the least, after his influence had been substantial on two successive generations, the so-called “geometry of fear” sculptors of the Fifties, and my own generation of abstract sculptors in the Sixties.

Rereading that essay today (it was printed unchanged in my...


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